【摘要】：婚戀劇之所以從誕生以來(lái)就常播不衰，最重要的原因是，它像時(shí)代的一面鏡子，無(wú)論是男女老少，都能從中看到自己家庭的影子。隨著80后等新一代青年社會(huì)和家庭主體地位的上升，人們?cè)絹?lái)越關(guān)注80后青年的婚戀問(wèn)題，他們的愛(ài)情、婚姻、家庭跟隨時(shí)代洪流產(chǎn)生了新的變化，于是，青春婚戀題材電視劇搬上熒屏。由于市場(chǎng)經(jīng)濟(jì)的發(fā)展，商業(yè)法則越來(lái)越滲透到文化領(lǐng)域，大眾文化和消費(fèi)文化的崛起，促進(jìn)了電視劇行業(yè)的繁榮，青春婚戀劇的創(chuàng)作不可避免的受到了市場(chǎng)規(guī)律和消費(fèi)文化的影響，青春婚戀劇的消費(fèi)特質(zhì)也日漸顯現(xiàn)，本文希望從消費(fèi)文化的角度出發(fā)，對(duì)青春婚戀劇做一個(gè)初步探析。 本文的緒論部分著重對(duì)本文的對(duì)研究主體——青春婚戀劇做出詳細(xì)的闡釋?zhuān)�指出青春婚戀劇是青春偶像劇與家庭倫理劇的綜合體，拋棄了偶像的淺白和家庭倫理劇的苦情，取兩者之優(yōu)長(zhǎng)。同時(shí)，與傳統(tǒng)婚戀劇對(duì)比，指出將青春婚戀劇對(duì)傳統(tǒng)婚戀的繼承和發(fā)展。第一章主要是對(duì)青春婚戀劇進(jìn)行一個(gè)整體把握，通過(guò)梳理青春婚戀劇的發(fā)展歷程，，并對(duì)眾多作品進(jìn)行主題上的解讀，包括傳統(tǒng)與現(xiàn)代的沖突與妥協(xié)、情感與物質(zhì)的雙重較量、“剩男”“剩女”的婚姻之路和為人父母的身份升級(jí)等四大類(lèi)；第二章是對(duì)青春婚戀劇的生產(chǎn)機(jī)制進(jìn)行分析，指出消費(fèi)主義邏輯已經(jīng)滲透在其制作與傳播的過(guò)程中，青春婚戀劇具有模式化、時(shí)尚化和娛樂(lè)化的消費(fèi)屬性；第三章結(jié)合消費(fèi)文化來(lái)探討青春婚戀劇如何與日益盛行的消費(fèi)文化共謀，并且推行和散播消費(fèi)主義意識(shí)形態(tài)的，主要包括三方面：植入式廣告、參與生產(chǎn)商品意義、展示生活理念和消費(fèi)方式；本文的第四章，對(duì)青春婚戀劇所反映的文化問(wèn)題做出反思。青春婚戀劇作為時(shí)代的產(chǎn)物，在其作品中不可避免反應(yīng)了消費(fèi)時(shí)代的某些特質(zhì)和文化征兆，主要剖析青春婚戀劇所反映的消費(fèi)時(shí)代的婚戀觀及其倫理沖突，同時(shí)結(jié)合“身份認(rèn)同”理論分析，消費(fèi)主義盛行而導(dǎo)致的80后青年的身份焦慮與認(rèn)同危機(jī)。
[Abstract]:The most important reason why marriage drama has been broadcast since its birth is that it is like a mirror of the times in which men, women and children can see the shadow of their families. With the rising social and family status of the post-80s generation of youth, people pay more and more attention to the marriage and love of post-80s youth. Their love, marriage and family have changed with the tide of the times. Youth marriage theme TV series on the screen. With the development of the market economy, the commercial law has penetrated more and more into the cultural field. The rise of popular culture and consumer culture has promoted the prosperity of the TV drama industry. The creation of the youth marriage drama is inevitably influenced by the market law and the consumption culture, and the consumption characteristics of the youth marriage drama are also gradually appearing. This article hopes to make a preliminary analysis of the youth marriage drama from the perspective of the consumption culture. In the introduction part of this paper, the author makes a detailed explanation of the main body of the study, youth marriage drama, and points out that the youth marriage drama is a combination of the youth idol drama and the family ethics drama, and abandons the idols and the bitter feelings of the family ethics drama, and points out that the youth marriage drama is a combination of the youth idol drama and the family ethics drama. Take the best length of both. At the same time, compared with the traditional love drama, it points out the inheritance and development of the youth marriage drama to the traditional marriage and love. The first chapter is a comprehensive grasp of the youth drama, through combing the development of youth love drama, and a lot of works on the theme of interpretation, including traditional and modern conflict and compromise, emotional and material double contest. "leftover men" and "leftover women" of marriage and the promotion of the identity of the four categories of parents; The second chapter is to analyze the production mechanism of youth marriage drama, pointing out that consumerism logic has infiltrated in the process of its production and dissemination, youth marriage drama has the consumption attributes of model, fashion and entertainment; The third chapter discusses how to conspire with the increasingly popular consumer culture and promote and disseminate the ideology of consumerism, which mainly includes three aspects: planting advertising, participating in the production of goods meaning. Show the concept of life and consumption style; The fourth chapter reflects on the cultural problems reflected in youth drama. As the product of the times, the youth marriage drama inevitably reflects some characteristics and cultural signs of the consumption era in its works, and mainly analyzes the view of marriage and love and its ethical conflict reflected by the youth marriage drama. At the same time, based on the theory of identity, the post80s youth's identity anxiety and identity crisis caused by the prevalence of consumerism.
【學(xué)位授予單位】：重慶工商大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類(lèi)號(hào)】：J905

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